8 12 intime 2015/2 Culture & Business 13 Japan and recent winner at the Abbiati Prizes 2015 for his extraordinary conducting of Simon Boccanegra at the Fenice. It is a production challenge that is met with quality: the economic balance is sought not only in the necessary attention to the accounts. A major cultural project is required. Biennale, Accademia di Belle Arti, Conservatorio The Fenice does not proceed alone, but networks with other major Venetian institutions. What possible developments? Networking is strategic for us, though it is not always easy. A willingness on all sides is needed, especially that of the big institutions. The aim is to create links with which to cultivate a new audience, especially young, and to do so at several levels. Involving people not only as spectators, but as associates for staging the shows, as happens with the students at the Accademia di Belle Arti. There is a very close, continuous and reciprocal relationship with the Conservatorio Benedetto Marcello, as there must be between a music school and its theatre. The relationship with the Biennale is also vital, the Teatro La Fenice s partner in trying out and studying new direction and dramatic expressions. The involvement of Kara Walker, Àlex Rigola and Mariko Mori arises from this. The New Year s concert at the Fenice is now a tradition, broadcast on RAI UNO. How has this influenced the image, the popularity of the theatre? The Fenice cannot survive without the international sphere: more than 60% of its audience is foreign. And the New Year s Concert, broadcast on worldwide television, has contributed significantly to making us known also in emerging countries. Many foreigners not only watch the television show, but come to visit the Fenice, to see in reality the spaces they ve seen on the screen. The Fest company, which manages the guided visits, takes in about a million euros a year from entrance fees. It is a global event, which takes the Fenice to the world and the world to the Fenice. above, Daniel Harding conducting the new year s concert right, igor Stravinsky The Rake s Progress, conductor Diego Matheuz, director Damiano Micheletto, sets Paolo Fantin, Costumes Carla Teti Visit the Theatre The visit among the stuccoes and gold of the elegant rooms allows the backstage to be discovered along with the secrets of the theatre and its stars, retracing its history from its origins to the present. Every day from 9.30 am to 6 pm unless varied for artistic or technical reasons. Info Two years ago, for the Verdi anniversary, the theatre returned to Japan. How does it interpret its role as ambassador of our country? We are an international showcase for Venice. Everyone knows the Fenice and we bank on this brand, to create a virtuous circle of paying public. Next year we will be in Oman. We think we are amongst those who contribute most to reinforcing the image of Venice in terms of quality and as a productive musical model, thus giving back the big investments the city makes in us. Working with other foreign organisations, we propose an experience of cooperation and valuable dialogue to overcome the misunderstandings and narrow-mindedness that taint the life of our country. Because of its dramatic history, the Fenice, having been destroyed and reborn several times, knows what it means to be close to the end and begin again. What idea of the future can the theatre help plan for its city? With much humility, we have to work, work, work... for the best of the Fenice and of Venice. This is the rule: before asking, give! Everyone expects a lot from the city, but nobody gives anything back. Those who attain well-being thanks to this city should also recognise this, concern themselves with leaving this great heritage as a legacy. Venice can only save itself from the bottom up. dev essere tra una scuola musicale e il suo teatro. Vitale anche il legame con la Biennale, partner del Teatro La Fenice nella sperimentazione e nella ricerca di nuove espressioni registiche e drammaturgiche. Scaturisce da qui il coinvolgimento di Kara Walker, Àlex Rigola, Mariko Mori. È una consuetudine ormai il Concerto di Capodanno alla Fenice, trasmesso su RAI UNO. Come ha influito sull immagine, sulla popolarità del teatro? La Fenice non può vivere senza la sfera internazionale: oltre il 60% del suo pubblico è estero. E il Concerto di Capodanno, trasmesso in mondovisione, ha contribuito notevolmente a farci conoscere anche nei paesi emergenti. Molti stranieri non solo assistono allo spettacolo televisivo, ma vengono a visitare la Fenice, per vedere dal vivo gli spazi conosciuti sullo schermo. La società Fest, che gestisce le visite guidate, ricava circa un milione di euro l anno dagli ingressi. È un evento globale, che porta la Fenice nel mondo e il mondo alla Fenice. Due anni fa, per l anniversario verdiano, il teatro è tornato in Giappone. Come interpreta il suo ruolo di ambasciatore del nostro paese? Per Venezia noi siamo una vetrina internazionale. Tutti conoscono la Fenice e su questo marchio puntiamo, per creare un circolo virtuoso di pubblico pagante. L anno prossimo saremo in Oman. Crediamo di essere tra le realtà che più contribuiscono a rafforzare l immagine di Venezia sotto il profilo della qualità, del modello produttivo musicale, restituendo così i grandi investimenti che la città fa su di noi. Collaborando con altre realtà straniere, proponiamo un esperienza di cooperazione, di dialogo preziosa, per superare quelle incomprensioni e chiusure che rattristano la vita del nostro paese. Per la storia drammatica che ha, la Fenice più volte distrutta e risorta sa cosa significhi sfiorare la fine e ricominciare. Quale idea di futuro può contribuire a progettare il teatro per la sua città? Con umiltà dobbiamo lavorare, lavorare, lavorare per il meglio della Fenice e di Venezia. Questa è la regola: prima di chiedere, dare! Tutti si aspettano tanto dalla città, ma nessuno restituisce. Chi raggiunge il benessere grazie a questa città deve anche esserle riconoscente, preoccuparsi di lasciare in eredità questo grande patrimonio. Venezia si può salvare solo dal basso. Above, vincenzo Bellini I Capuleti e i Montecchi, conductor Omer Meir Wellber, director Arnaud Bernard, sets Alessandro Camera, Costumes Maria Carla Ricotti Two productions aimed at a young audience: The action musical Le cinesi by Christoph Willibald Gluck and the world premiere of the apocalyptic-insect opera with a happy ending, Il ritorno dei chironomidi by Giovanni Mancuso, will be performed at the Teatro Malibran in association with the Conservatorio di Musica Benedetto Marcello in March 2016.

10 16 intime 2015/2 Culture & Business 17 years, along with the traditional crafts, Durham recognises. Even the artist has been a tourist here; attentive, sharing, but in any case a tourist. The pieces glass and lace, branches and pipes that he has scattered on the ground, like wreckage from a shipwreck, tell of the repercussions of unconditional consumption: the city, so fragile, risks being overrun by it. It is easy to imagine Venice in 50 years as an artificial place, where everything, through to the blowing of glass, takes place theatrically, to be photographed.... A native American, of the Cherokee people, Jimmie Durham does not like the rhetoric of roots, but has been involved in the American Indian Movement, has represented his people at the United Nations and is well aware of what cultural obliteration and the threat of extinction are. In the bustle that recreates the city every day, that still makes it a city, that defines a civilisation, Durham indicates a possible resistance to Venice degenerating into caricature. presi i mestieri della tradizione, riconosce Durham. Anche l artista è stato turista qui; attento, partecipe, comunque turista. I frammenti vetri e merletti, rami e tubi che ha disseminato per terra, come relitti di un naufragio, dicono i contraccolpi di un consumo senza condizioni: la città, così fragile, rischia di finirne calpestata. «È facile immaginare Venezia fra cinquant anni come un luogo finto, in cui tutto, fino alla soffiatura del vetro, avviene in maniera teatrale, per essere fotografato...». Nativo americano, del popolo dei Cherokee, Jimmie Durham non ama la retorica delle radici, ma è stato impegnato nell American Indian Movement, ha rappresentato la sua gente alle Nazioni Unite, sa bene cosa siano l annientamento culturale e la minaccia d estinzione. Nel lavorio che «ricrea la città ogni giorno», che ne fa ancora una città, «che definisce una civiltà», Durham indica una resistenza possibile alla degenerazione di Venezia in caricatura. The objects I have created communicate the ingenuity of the products and the richness of the experience we have with them. above, Intervention 17 in the Giovanni Bellini Room of the Museum left and below, Lapis Lazuli with Venetian Red Glass, a Valve, Et Cetera, 2015, and Not Exactly Sequitorious, 2015, in the Carlo Scarpa Area Mestre Surely was Intended to Bring Development to the Lagoon of Venice, 2015, in the Carlo Scarpa Area Above, Intervention 18 in the MYthology Room of the Museum Fondazione Querini Stampalia The Fondazione Querini Stampalia, founded in 1869, welcomes its guests with ancient treasures but also with the breadth of the present: the rich, historical library with its 19th-century atmosphere; the museum house, which hands down the atmosphere of an ancient Venetian residence; the architectural work of Carlo Scarpa, Valeriano Pastor and Mario Botta, signs of the contemporary most evident in the 16th-century structure of the palazzo, where the contrast between different styles and crossovers between the various artistic forms are daily sought out in the public offerings. Campo Santa Maria Formosa, Castello Jimmie Durham Venice: Objects, Work and Tourism A project curated by Chiara Bertola arising out of the collaboration between the Fondazione Querini Stampalia, Venice and kurimanzutto, Mexico City. Fondazione Querini Stampalia, Area Carlo Scarpa and Museum 6 May - 20 September 2015 Tues-Sun 10am-6pm Photo Francesco Allegretto He applied a growling mask to the blue fish tail. He called it Carnivalesque Shark in Venice. He attached a fiery Murano goblet to a tap. Scarpa had done the same thing in the 16th-century Querini palazzo, making new spaces germinate there. Beauty is not an academic programme, it is an implant in the material, a way of doing things. Alla coda del pesce blu ha applicato una maschera digrignante. L ha chiamato Squalo carnevalesco a Venezia. Ha fissato un calice fiammeggiante di Murano a un rubinetto. Scarpa aveva fatto lo stesso nel palazzo cinquecentesco dei Querini, facendovi germogliare spazi nuovi. La bellezza non è un programma accademico, è un innesto nella materia, un modo di fare le cose. luca colombo, journalist, works at the RAI. He is correspondent for the Veneto Regional TV News. Winner of the Ilaria Alpi Prize giornalista, lavora alla RAI. È inviato della Sede della TGR per il Veneto. Vincitore del Premio Ilaria Alpi.

12 bound in venice SIMO.qxd_Layout 1 26/07/ Pagina 1 Graphic design by Emanuele Ragnisco - $16.00 ISBN > NON-FICTION/HISTORY aldus 500 years hastening slowly 20 intime 2015/2 Culture & Business 21 by/di mario infelise Everyone knows Johann Gutenberg, the inventor of printing technology. But less well known is Aldus Manutius the 500th anniversary of whose death (6 February 1515) is marked this year whom we have to thank for his perfect understanding of the potential of printing and the conception of several contrivances that made the book into what it has substantially remained until now. Aldo Manuzio in figures 20 years of activity 132 books published: 73 classics, 8 in demotic Italian, 20 contemporary works in Latin, 18 textbooks 30 first editions in Greek For many years, almost a book a month Tutti conoscono Johann Gutenberg, l inventore della tecnologia della tipografia. Meno noto è, invece, Aldo Manuzio, di cui proprio quest anno ricorre il cinquecentesimo anniversario della morte (6 febbraio 1515), al quale dobbiamo la perfetta comprensione delle potenzialità della stampa e l ideazione di una serie di accorgimenti che hanno reso l oggetto libro quello che è sostanzialmente rimasto sino a ora. Alessandro Marzo Magno was born in Venice, Italy, in He worked as a journalist for various newspapers and was chief editor of the foreign affairs desk at Diario for ten years. He has since published ten books. He lives in Milan with his wife and two children. Gregory Conti s translations for Europa Editions include Alessandro Barbero s The Eyes of Venice and Alberto Angela s A Day in the Life of Ancient Rome, which was voted a Best Book of the Year by the Kansas City Star and became an Indie Bound best seller. Europa Editions Photo Andrea Avezzù ALESSANDRO MARZO MAGNO BOUND IN VENICE In this hymn to books, Marzo Magno delves into the delectable intrigues of Renaissance Venice with a degree of detail that will mesmerize readers. La Repubblica Painting has Raphael, sculpture Michelangelo, architecture Brunelleschi, and publishing has Aldus Manutius. Even though he is not as well known as the creator of the David, Manutius was a genius, an innovator, a revolutionary; his work represents a turning point in history. After him, publishing will be totally different from what it was before and his intuitions are still integral to our lives today. Perhaps the ebook will make him finally obsolete. Perhaps. The pocket paperback, for example, did not. Why? Because Manutius himself invented it! And the bestseller? Manutius was the first to publish one. He made it possible for Petrarch, dead and buried for half a century at the time, to sell the astronomical figure of 100,000 copies. Selling 100,000 copies would be considered an enormous success even today imagine what it meant in the sixteenth century. Manutius even revolutionized punctuation, becoming the father of the semi-colon... Most significantly, he is the first to conceive the book as a form of entertainment. He is the inventor of reading for pleasure. What was an instrument for prayer or scholarship becomes thanks to his innovations something intended as a pleasant pastime ALESSANDRO MARZO MAGNO - Bound in Venice It is no exaggeration to say that Aldus Manutius was the real inventor of the modern book. He was the great publisher responsible for the rediscovery of the Greek philosophical culture that was the basis of humanism and the Renaissance, and the inventor of various devices that made the printed book the main and most rational means of accumulating and communicating human knowledge over the past five centuries. He was responsible for improvements in layout methods and the design of the characters, the invention of italics and the definition of fundamental expedients for making reading easier, such as a reduction in size, new punctuation marks, the numbering of pages, indices and so on. Aldus Manutius was born in Bassiano, in the Roman countryside, in the mid-15th century. He studied Latin and Greek in Rome at the exact time that some German printers had begun printing the first books in Italy. Not much is known about that period, when the young Aldus began a career as a teacher, in years when a lively curiosity about the language and culture of ancient Greece was being reawakened, partly as a consequence of the fall of Constantinople to the Ottomans. In the wake of this interest, Aldus moved to Venice around 1489, where, for twenty years from Alessandro Marzo Magno A highly readable but erudite book in the ALESSANDRO MARZO MAGNO Bound style of Alberto Angela s in A Day in Venice: the Life of Ancient Rome and Stephen Greenblatt s Swerve, this is the incredible story of BOUND IN VENICE Venice at a time when it was the mercantile The and cultural capital Serene of the world. There, Republic in the fifteenth and sixteenth centuries, the first THE SERENE REPUBLIC real publishing houses open for business AND THE DAWN OF THE BOOK leading to an explosion of the written word unprecedented diffusion of human and knowledge. In the Venice, and Dawn subsequently in of the much of the civilized world, bound printed editions of the Talmud, the Koran, the works of Erasmus of Rotterdam, and classics of Book, Greek and Latin poetry New and theater willyork, Europa circulate for the first time, bringing about a true revolution and the birth of the modern. Among the innovators who are driving Editions, these new cultural enterprises, one The story remarkable visionary, Aldus Manutius, credited with inventing the figure of the modern publisher, stands head and shoulders of above Aldo the rest. This is his story, Manuzio, and the story who in of the incredible city that allowed such an innovator to thrive. late 15th-century early 16th-century Venice invented the figure Europa editions $16.00 / 9.99 of the modern publisher, and of the incredible city that allowed such an innovator to thrive. 1494, he printed about 130 books in Greek, Latin and Italian that were and still are the basis of how science and culture are understood in Europe. It is a legacy that has remained until our day and is currently being celebrated in Venice and the rest of the world with exhibitions and conferences. Aldine editions, distinguished by the anchor and dolphin trademark, have since then been eagerly sought by collectors all over the world and continue to be an inescapable point of reference for publishers and printers. Hypnerotomachia Poliphili An absolute masterpiece of the printing art, Il Polifilo was printed by Aldo Manuzio in Highly sought by collectors, the current price of a copy in good condition is around 350,000 euros. 234 folio pages rich in images, 172 splendid, anonymous engravings and the artistic composition of the text itself make Il Polifilo the most beautiful book ever published. mario infelise is professor of Cultural History and History of the Book at Venice s Ca Foscari University è professore di Storia culturale e Storia del libro presso l Università Ca Foscari di Venezia. Non è esagerato sostenere che fu Aldo Manuzio il vero e proprio inventore del libro moderno. Fu egli il grande editore a cui si deve la riscoperta della cultura filosofica greca alla base dell umanesimo e del rinascimento e l ideatore di una serie di dispositivi che hanno reso il libro a stampa il principale e più razionale strumento per l accumulo e la trasmissione delle conoscenze umane degli ultimi cinque secoli. Si devono a lui il miglioramento delle modalità di impaginazione e del disegno dei caratteri, l invenzione del carattere corsivo, la definizione di accorgimenti fondamentali per rendere più agevole la lettura, come la riduzione dei formati, nuovi segni di punteggiatura, la numerazione di pagine, gli indici etc. Aldo Manuzio era nato a Bassiano, nella campagna romana, alla metà del XV secolo. Aveva studiato latino e greco a Roma, giusto quando alcuni tipografi tedeschi avevano iniziato a stampare i primi libri in Italia. Non si sa molto di quel periodo, mentre il giovane Aldo si avviava alla carriera di insegnante, in anni in cui, anche per le conseguenze della caduta di Costantinopoli in mano agli ottomani, stava risvegliandosi una vivacissima curiosità verso la lingua e cultura della Grecia antica. Sulla scia di questi interessi, verso il 1489 Aldo si trasferì a Venezia dove, dal 1494, per una ventina d anni, stampò circa 130 libri in greco, latino e italiano che sono stati e sono tuttora alla base del modo di intendere la scienza e la cultura in Europa. È un eredità che è rimasta sino ai giorni nostri e che in questi mesi è celebrata a Venezia e nel resto del mondo con mostre e conferenze. Da allora le edizioni aldine, contraddistinte dal marchio dell ancora e delfino, sono state oggetto di grande attenzione da parte dei collezionisti di tutto il mondo, continuando a costituire un punto di riferimento inevitabile per editori e tipografi. sponsored by tipoteca.it Type and Printing Museum TIPOTECA ITALIANA

13 22 intime 2015/2 Culture & Business 23 designed for excel- by/di silvia bandolin The history of the Tagliapietra boatyard began in the heart of Venice, in the entrance hall of the Palazzo Fortuny, where in 1967 Dino, son of a shipwright, began working for himself as a carpenter. It is difficult to imagine this beginning today when the Tagliapietra boatyard at the Consorzio Cantieristica Minore Veneziana, Giudecca, of which Dino is one of the founding members occupies 2400 square metres with its production areas and offices, and a further 2000 outside. It is a boatyard known in Italy and abroad for its fine boats, one-off models made to order for the most different needs: every boat built new, restored or overhauled that passes through here has its own history and is given customised treatment that is more and more sought after by an international clientele. lence The Tagliapietra family has safeguarded and updated the ancient tradition of boatbuilding in the lagoon for three generations Photo Pietro Carrieri The motor launch Royale built in 2013 for the Aman Hotel exclusive comfort The search for luxury but also respect for tradition bring this Venetian boat builder an international clientele, lovers of classic boats who do not want to do without safety and quality. / La ricerca del lusso ma anche il rispetto della tradizione portano in questo cantiere veneziano una clientela internazionale, costituita da amanti di barche classiche che non rinunciano alla sicurezza e alla qualità. La storia del cantiere Tagliapietra inizia nel cuore di Venezia, nell androne di Palazzo Fortuny dove dal 1967 Dino, figlio di un maestro d ascia, inizia a eseguire in proprio lavori di carpenteria. Difficile immaginare questo esordio oggi che alla Giudecca, all interno del Consorzio Cantieristica Minore Veneziana, di cui Dino è tra i soci fondatori, il cantiere Tagliapietra occupa 2400 m 2 tra attività produttive e uffici e altri 2000 di scoperto. È un cantiere noto in Italia e all estero per le sue imbarcazioni d eccellenza, pezzi unici commissionati su richiesta per le esigenze più diverse: ogni barca costruita ex novo, restaurata o revisionata che passa di qui ha una propria storia e ottiene un trattamento su misura ricercato sempre più da una clientela internazionale.

14 24 intime 2015/2 Culture & Business 25 construction Traditional processes are flanked by modern techniques: linseed oil and copper nails are used alongside vacuum gluing and the axe is accompanied by computerised milling. / Alle lavorazioni tradizionali si affiancano tecniche moderne: olio di lino e chiodature in rame si associano a incollaggi sottovuoto e l ascia si accompagna alle frese computerizzate. Interiors of the Royale and bridge of the Baher Tender the Italian Navy tall ship Amerigo Vespucci TENDER BUILT BY TAGLIAPIETRA IN 2015 Tagliapietra in any case remains a boatyard that is very closely linked to Venice, and its main clients are in the city: luxury hotels, public corporations and institutions, but also taxis and individuals with prestige craft, all in search of a personalised product made with attention to the finest details. And then there is the maintenance: because of the boatyard s fame it attracts craft that are rarely seen elsewhere in the lagoon, such as oceanic schooners and English boats. But one of the Tagliapietra family s greatest glories is that of having continued to believe in wood in the years when its fate seemed marked by the advent of fibreglass: a choice then against the trend because more difficult, starting with finding the wood, mainly mahogany from Africa or South America, and using long planks (even more than 14 metres), keeping to the tradition of quality based on the single piece ; wood that has to be seasoned for three years before being used. The boatyard now has about fifteen employees and Dino s sons Andrea and Luca work alongside him. They have introduced the use of new technologies and sophisticated electronics, attention to quality certification and security: all characteristics that look towards the future of a company that continues to safeguard the secrets of one of Venice s oldest traditions. Tagliapietra rimane comunque un cantiere profondamente legato a Venezia e i maggiori clienti sono della città: alberghi di lusso, enti pubblici e istituzioni, ma anche taxi e privati con imbarcazioni importanti, tutti alla ricerca di un prodotto personalizzato e curato nei minimi dettagli. E poi la manutenzione: per la fama di cui gode il cantiere vi approdano imbarcazioni difficili da vedere altrove in laguna, come golette oceaniche e imbarcazioni inglesi. Ma uno dei maggiori orgogli della famiglia Tagliapietra rimane quello di aver continuato a credere nel legno in anni in cui il suo destino sembrava segnato dall avvento della vetroresina: una scelta allora controtendenza perché più difficile a partire dalla ricerca del legname, per lo più mogano proveniente dall Africa o dal Sudamerica, fasciame lungo (anche oltre 14 metri) secondo la tradizione di qualità che punta al pezzo unico, un legno che deve stagionare tre anni prima di essere utilizzato. Oggi il cantiere conta una quindicina di dipendenti e al fianco di Dino lavorano i figli Andrea e Luca che hanno introdotto l impiego delle nuove tecnologie e l elettronica all avanguardia, l attenzione alle certificazioni di qualità e alla sicurezza: tutte caratteristiche che proiettano verso il futuro una realtà aziendale che continua a custodire i segreti di una delle più antiche tradizioni veneziane. From the essence to the finishes No detail is left to chance in these made to measure boats: from finding the wood in long planks, to care of the finishes and the choice of leathers, strictly sewn by hand. / In queste imbarcazioni su misura nessun dettaglio è lasciato al caso: dalla ricerca del legno in fasciame lungo, all attenzione per le finiture e per la scelta dei pellami, rigorosamente cuciti a mano.

15 26 intime 2015/2 Places & Events 27 Andrea Morucchio Gypsotheca Series Produced in 1994 by Andrea Morucchio, it consists of 27 photos taken of Antonio Canova s works in the Gypsotheca (Canova Museum, Possagno): The plaster originals, whose surface is studded with little bronze cylinders, reference points for the translation into marble, become the subject of a formal and emotional reinterpretation of Canova s work (Laura Poletto). The series was exhibited in 2006 at the Galerie Rossella Junk in Berlin. the CANOVA landmark ANDREA MORUCCHIO (Venice 1967) began his photographic career in Since the end of the 90s, he has expanded his own linguistic research often based on considerations of a socio-political nature in various directions, from sculpture to installation, from video to photography and performance.

16 28 intime 2015/2 Places & Events 29 Canova Museum Museum and Gypsotheca This museum in the artist s home town contains the plaster and terracotta models of Antonio Canova s most famous works. The museum also takes in Canova s birthplace, where some of his paintings are kept. The 19th-century structure of the plaster-cast gallery was expanded in 1957 by the architect Carlo Scarpa. Via Canova 74, Possagno (Treviso) Tues-Sun 9.30am-6pm Sublime Canova The new layout of the precious section dedicated to Antonio Canova s sculptures can be visited at the Correr Museum in Venice. Every day, 10am-7pm correr.visitmuve.it

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